For 70 reviews, this critic has graded:
  • 57% higher than the average critic
  • 1% same as the average critic
  • 42% lower than the average critic
On average, this critic grades 3.5 points higher than other critics. (0-100 point scale)

Guy Lodge's Scores

  • Movies
  • TV
Average review score: 63
Highest review score: 100 Dawn of the Planet of the Apes
Lowest review score: 20 A Million Ways to Die in the West
Score distribution:
  1. Positive: 32 out of 70
  2. Negative: 6 out of 70
70 movie reviews
    • 60 Metascore
    • 70 Guy Lodge
    [A] good, middlebrow adaptation — which, despite being scripted by Banville himself, sacrifices much of the novel’s structural intricacy for Masterpiece-style emotional accessibility.
    • 67 Metascore
    • 70 Guy Lodge
    Alluring if not especially illuminating.
    • 62 Metascore
    • 60 Guy Lodge
    Its repetitive qualities are beyond reproach. Every bit as amiable and disposable as its predecessor, it recycles everything from slapstick gags to its own voice cast.
    • 59 Metascore
    • 60 Guy Lodge
    The narrative’s time-travel element allows for plenty of fluffy, fleet-footed action.
    • 48 Metascore
    • 60 Guy Lodge
    It’s all extravagantly daft, moves at a fair clip and is over before you expect it to be.
    • 41 Metascore
    • 60 Guy Lodge
    The thrills and the effects are cheap, but this is in hard-driving, good-humoured command of its own silliness.
    • 49 Metascore
    • 60 Guy Lodge
    A proficient but personality-free policer that demands little of either its audience or its enviable best-of-British cast, this simplistic urban morality tale miscasts the appealing James McAvoy as one good cop whose dogged pursuit of Mark Strong’s alpha criminal only uncovers the rot within police ranks.
    • 76 Metascore
    • 60 Guy Lodge
    Mud
    It’s a broader, starrier project than either of Nichols’s previous films, and he handles the transition to the major league with relative confidence.
    • 34 Metascore
    • 60 Guy Lodge
    Don’t tell Liam Neeson, but someone had the gall to make a violent Euro-thriller about a rampaging American dad without him. And not a bad one either.
    • 73 Metascore
    • 60 Guy Lodge
    There’s typical grace and good humour in Kore-eda’s handling of this all-but-impossible situation. But the film’s critical lack of dramatic nuance undercuts its emotional resonance.
    • 59 Metascore
    • 60 Guy Lodge
    The film is easier to admire than it is to invest in emotionally, though its pulse quickens with a dramatic, and boldly untelegraphed, feminist twist in the rural-set final reel.
    • 89 Metascore
    • 60 Guy Lodge
    Tsai here seems to be stripping his ornately eccentric style down to formal fundamentals. A certain pictorial grace remains; his sense of humor, sadly, appears to have been largely tossed out with the bathwater.
    • 44 Metascore
    • 60 Guy Lodge
    Attention is retained by the commendably unhistrionic leads, who convincingly etch the pair’s enduring devotion even when passions run dry.
    • 52 Metascore
    • 60 Guy Lodge
    [An] amiable but flat-footed debut feature.
    • 57 Metascore
    • 60 Guy Lodge
    It’s as handsomely shot as any film about an ace shutterbug ought to be, and Binoche infuses familiar internal crises with palpable pain and urgency.
    • 62 Metascore
    • 60 Guy Lodge
    [An] appealingly absurd thriller.
    • 51 Metascore
    • 60 Guy Lodge
    The rare prestige pic that could actually stand to be longer.
    • 43 Metascore
    • 60 Guy Lodge
    There’s enjoyably smutty comedy to spare... but the film’s bleakest segments are actually its strongest.
    • 48 Metascore
    • 60 Guy Lodge
    The upside for Saint Laurent’s admirers is that Bonello’s film reflects more of the designer’s tortured creative drive in its dark onyx surfaces; it’s the slightly deranged auteur portrait that a fellow artist and iconoclast deserves.
    • 68 Metascore
    • 60 Guy Lodge
    While this appropriately brief film unravels its enigma at a tidy clip, it gathers neither enough heat, nor quite enough of a chill, to linger in the bones.
    • 53 Metascore
    • 60 Guy Lodge
    Earnest issue drama and pulpy B-thriller mechanics make awkward but not uncompelling bedfellows in Honour.
    • 67 Metascore
    • 60 Guy Lodge
    The consistently celebratory stance of “Kink” is commendable, but also feels somewhat limiting.
    • 64 Metascore
    • 50 Guy Lodge
    Well-meaning but dated and frequently risible issue-drama.
    • 41 Metascore
    • 50 Guy Lodge
    The voice ensemble is game, if not especially well matched.
    • 42 Metascore
    • 50 Guy Lodge
    Salaciously watchable but finally hokey.
    • 60 Metascore
    • 40 Guy Lodge
    This turgid return papers over the previous film’s narrative, but creates little in the way of a fresh character arc.
    • 42 Metascore
    • 40 Guy Lodge
    It’s a testament to the duo’s jazzy comic chemistry that they wring some laughs from this dated, frankly sinister premise.
    • 63 Metascore
    • 40 Guy Lodge
    Just about every charge of social negligence leveled at Spring Breakers can be countered with an arch claim of intent, which makes it at once playful and wearying; enjoyment is contingent on how little you're willing to fight it.
    • 48 Metascore
    • 40 Guy Lodge
    At least Cameron Diaz gives it some welly as the gold-toothed femme fatale who may or may not hold all the cards.
    • 77 Metascore
    • 40 Guy Lodge
    If the final effect is somewhat less nuanced than his previous work, it's a good deal more vigorous.